Depicting underworld enterprise and its cutthroat capitalism from the bottom up, Martin Scorsese’s 1990 mob classic dispensed with The Godfather’s pedigree romanticism to show its American dreamers in all their blinkered baseness, as Tom Milne examined in his original review for our Monthly Film Bulletin.

Challenging his readers to see the world in entirely new terms, Mark Fisher wrote exceptional criticism rooted in his scrutiny of high and low culture, his anti-capitalist politics and his dream of popular modernism. Sam Davies pays tribute to his late colleague.

Danny Boyle’s hyperactive return to the characters and locale of his 1996 cult classic offers more than just middle-aged nostalgia, but it’s a shame about the unexciting soundtrack, says Henry K. Miller.

One day in 1949, the iconic actor and singer Paul Robeson made a visit to a coal mine near Edinburgh to perform for the miners. The National Coal Board sent a camera crew to record the performance, which director Peter Pickering recalls in this exclusive new interview nearly 70 years later.

The artist-turned-filmmaker’s second feature uses still images of Mount Fuji to tell a love story and raise questions about photography, loss and Japanese culture. She tells Geoffrey Macnab why she asked the public to send her their snaps.